Most righteous thing Disney does as a movie studio is celebrate Earth Day with a nature doc Every year.
Most righteous thing Disney does as a movie studio is celebrate Earth Day with a nature doc Every year.

As I said in my review, “They killed ‘Hellboy.‘”
Early marketing, trailers etc., showed promise.
But the Neil Marshall/David Harbour “Hellboy” experience, a debacle of a reboot, opened to awful reviews — Lionsgate didn’t screen it widely enough to suggest they knew how bad it was — and audiences are staying away.
Is it really opening to just $12-13 million in business? That is a little better than half what it was expected to pull in. That’s a studio front office killer. Man, who gets fired?
Blame the producers, says Marshall. Blame the screenwriter and director, Cosby and Marshall — as well. What a mess.

It opened so weak it never gave the second weekend of “Shazam!” any sort of competition. Hell, it opened so weak that the Issa Rae/Regina Hall/Kid from “Black-ish” comedy “Little,” a flipping of the “Big” script, bettered it with ease — close to $15 million for that one, a wee bit better than predicted.
“Shazam” is in the $23 million range this weekend, barely exceeding expectations.
Saturday is the make-or-break day for kids’ animation, so “Missing Link,” despite having Hugh Jackman voicing the lead, with Zoe Saldana, Zach Galifianakis, Stephen Fry and Timothy Olyphant doing other voices, despite Laika’s stop-motion animated track record, will have to do MUCH better than it did Friday for that one to ever hit profit. It’s on track, per Deadline, which always underestimates family films at the box office, to manage only $5-6 million, as of now. The fact that it’s not a dazzler, not that funny, etc., isn’t helping.
The lukewarm/lame romance “After,” also opening this weekend, is doing better — $7-8 million, maybe.
“Pet Sematary” and “The Best of Enemies” are falling off fast.
Now I don’t know if this Daisy Ridley/J.J. Abrams controlled “Star Wars” trilogy is going to solve its essential problems with story, pace, inclusive-casting that overreaches and cluttering the picture with extra characters –all to sell more toys and make more money in foreign markets — with this last, third film in the sequence.
But unlike with the final “Avengers,” this I can look forward to. I’m still capable of falling for the essence of cinema that makes every “Star Wars” movie a heartbeat-skipping moment of anticipation, at least as far as the trailers are concerned.
Our old friend Luke narrating, now an old man, and John Williams’ score welling up on the soundtrack, that takes you back, right back where you were when first encountered this universe.
Here it is, “Episode IX,” on its way this holiday season.

Maybe the world hasn’t been waiting with bated breath for a Canadian hockey-flavored version of “Grosse Point Blank.” But that was fun, flippant and romantic and the violence wasn’t as in-your-face as you might expect for a hit-man high school reunion comedy. So why not?
“First Round Down” shows us the possibilities in the idea, even if it hammers home the point that we’re still waiting on a good action comedy along those lines.
It’s a glib, slow and somewhat sour variation on a theme, a comedy that’s never as jaunty as that ancient Canadian ditty that plays out under the opening credits, “The Good ol’Hockey Game” by “Stompin’ Tom Connors.
The reunion this time is of a famous Hamilton, Ontario Junior team, the Steelhawks, who conjured up “the preeminent sporting event in Hamilton history” when they won The Sterling Cup. The story maintains that was ten years ago, but everybody in this thing looks as if more than ten years have passed, the vintage music and vintage cars treasured by those who lived through it are even older still.
Tom Tucker, played by Dylan Bruce of “American Gothic” and “Orphan Black,” was “the most touted junior hockey player in years” back when he wore the black and gold. But he was laid out and injured during a game, ending his career.
He’s back in town, delivering pizzas, getting the odd double take of “Didn’t you used to be” even as he isn’t landing tips. Tom looks after baby brother Matty — “It’s MATTHEW!” (Percy Hynes White) — and saves his pennies.
Tom can take up with his old drinking buddy Bobby (Rob Ramsay, funny) and get a pass from a cop (Boomer Phillips) who tries and fails to arrest him for public urination after a night of drinking.
“Bill? I thought you were just some dumb cop.”
“I AM a dumb cop. Look how fast you stole my gun!”
But the homecoming doesn’t really hit home until he delivers a pizza to his ex, Kelly (Rachel Wilson of “Republic of Doyle”).
“It’s been ten years, Tucker. Get over me.”
Maybe he has and maybe he hasn’t. And what’s he been up to during the decade he was away? Feed him a beer or two and you’ll get it out of him.
Tom, it turns out, is a careless, loose-lipped, jokey and hotheaded hit man.
“Coupla bourbons for me and the ‘Goodfella’ over here!”
The casual viewer can guess the one or two directions “First Round Down” is going just from that one character trait. But let’s play out the string, because “Hammertown” (Hamilton’s nickname) deserves no less.
The stuff that works is Tom’s general haplessness and near-embarrassment at doing this job, back in this town, remembered by these people.
His alcohol problems have him slapping pucks, at game speed, at his goalie little brother in their garage, and bellowing at kids in a game he where he and Bobby are imbibing.
Fat loser Bobby yelling, “You are a drunken f—–g mistake” at a kid hockey player on the ice? Funny.
There’s beer drunk stalking and that whole public urination incident as well, all lightly amusing aspects of his character flaw.
His anger management issues have him giving a kid a hard time for not tipping because he’s just “a front for your parents” penny-pinching ways. And then there’s the room full of tough guys who not only stiff him over his tip, but insult him and won’t even pay full price for their pie.
The best scene co-directors Brett and Jason Butler cook up and shoot is essentially a savage hockey fight, on dry land with Tom taking on three toughs, glimpsed through a half-open motel room door.

The characters and story’s actual age and proper setting are given away in a bit of casting. John Kapelos makes a memorable mark as a mob boss who has used Tom’s handiwork over the years. Kapelos is best remembered as the world-weary, cynical janitor in “The Breakfast Club.”
That was a LOT longer than ten years ago, campers.
“First Round Down” stumbles and drags long before the “First Period” (hockey-game chapters separating the segments of the story) has ended. The film, now on Amazon and other video streaming platforms, never settles into the tone that works — jokey, slapshticky.
Sentiment interrupts, with sappy solo guitar underscoring those moments. The violence is necessary to the plot, but in the quite-violent finale, it sours the picture. The whole affair would have worked better if Tom had just turned his hockey enforcer skills to mob collector work. Fists and beatings lower the stakes, but are funnier that “Two Gun Tom” hitman work.
That brawler-paid to-brawl idea better fits the story and would have made the “Grosse Pointe” ripoff less obvious.
And the film’s Canadian content might have scored more laughs, north and south of the border, had the Butlers played around with that more. I lived on the edge of Canada in North Dakota and Alaska, and the differences between the cultures are both telling and occasionally hilarious, and generations of Canadian writers, comics and actors have made their fortune finding what’s funny “up there” and selling it both at home and in the U.S.
What the filmmakers here have made instead is a movie with some moments, built on a framework that’s worked before and will work again. You just wish they’d workshopped more jokes into this script and taken their story in more amusing directions.

MPAA Rating: unrated, violence and profanity
Cast: Dylan Bruce, Rachel Wilson, Rob Ramsay, Peter MacNeil, Pedro Miguel Arce and Joel Thomas Hynes.
Credits: Written and directed by Brett M. Butler, Jason G. Butler. An Unobstructed View release.
Running time: 1:36
French director turned producer/mogul Luc Besson likes them young and thin.
Yes, I’m being a tad crass because, well, that is Monsieur Luc in a nutshell, his “M.O.” — “La Femme Nikita,” “Lucy,” “Columbiana,” he married his “Fifth Element” starlet, Milla Jovovich and put her in “The Messenger” (the Joan of Arc movie). “The Transporter” movies are a veritable catalog of skinny models in jeopardy.
And who did he have “Leon: The Professional” protect? Natalie Portman.
Hey, I can say this because I have interviewed Msr. Luc several times and I know this guy’s game, as well as his action-pic bonafides.
“Anna” features runway-ready Sasha Luss as the skinny-but-deadly assassin. Cillian Murphy, Oscar winner Helen Mirren and Luke Evans are also in the cast of this June 21 action sleeper.
The trailer will pin your ears back, just like “Lucy.” Only with a better actress in the title role (“Lucy 2” is in the works).

Expectations are low, loooooowwww for the Lionsgate reboot of “Hellboy.”
Box Office Mojo says the second weekend of Warners/DC’s “Shazam!” should wipe the harbor floor with David Harbour’s take on the comic book character from Hades. A $22 million to $16 million weekend is what Mojo predicts.
I saw the tail end of one showing of “Hellboy” (catching the post-credits tease) with maybe a dozen ticket buyers in a rural Fl multiplex, and caught the rest of it at anothe showing, with maybe five people in the Thursday night “soft opening” of the film. No word from Deadline as to what last night’s shows produced nationwide.
Maybe it’ll do better than that, as premium ticket pricing and some theaters offers a 4D splash blood on your face (RPX “misting?”) experience. I think $20 or so, and that could make it close, as “Shazam!” isn’t interesting enough to pull a big second weekend, with a 60% drop pre-ordained.
Variety, I see, agrees — although it figures “Shazam!” will hit $24, 25 and thus still top the weekend with relative ease.
As I feared, when Lionsgate didn’t preview “Hellboy” in most markets (Hey, Orlando is in the NBA playoffs — we’re MAJOR), “Hellboy” sucks. A veritable “fecal matter weather event” of a fiasco was the phrase I turned in my review. What a disorganized, dull debacle.
Issa Rae is all set to be the New Tiffany Haddish (Black Girl Magic/Comic) if “Little” blows up. It could do $16 million, so that’s a win. The movie isn’t all that, but she is funny in it. Occasionally.
“Missing Link,” the weakest link in the Laika Studios animation chain of releases, is predicted to do about $10 million, despite having stop motion animation (the BEST animation) and despite featuring Hugh Jackman, Zach Galifianakis, Zoe Saldana and Stephen Fry in the voice cast. Not a “brand,” the second “Bigfoot” cartoon (after “Smallfoot”), etc.
It’s on a lot of screens, so a bigger take is possible. Variety thinks $14 is within reach.
“After,” a limp/wimp teen romance, just carnal enough to attract teens just clearing tweendom, is expected to manage $4 million this weekend. Or if you’re reading Variety, $3 million.
As the second weekend of “Unplanned” was a box office nosedive, despite adding a third more screens, the abortion drama I have gotten so much intemperate hate mail about (the review is pretty intemperate, too — with cause) is losing screens to those three new releases and disappearing from the top ten if not in the hearts of its adherents.
STX scored with a pretty good Civil Rights drama, “The Best of Enemies.” But the still-making-startup-mistakes studio is churning out too much s#%t like this. To be blunt, understand, and in the hopes that they set their sights higher.
The “Hellboy” reboot is a fecal matter weather event film fiasco, a gory ill-conceived debacle that drives a stake through the heart of the franchise, no matter how many post-credits “teases” the producers tack on.
For the record, there are two. For the record, you won’t want to stay all the way through those credits to see them. Unless, of course, you want to take names and troll assorted producers, stars, writers and effects crews that had the misfortune to put their names on this disaster.
Let the record also reflect that David Harbour is no Ron Perlman, the first and only big screen “Hellboy,” a crimson, de-horned, dismayed superhero from Hell. Harbour’s big and bulky, but not quite funny, no matter how many chances (not that many) the dreadful script gives him.
Still, we meet him in promising circumstances. He’s on a mission to Mexico to retrieve a rogue agent. He’s already famous. Being red and having a tail will do that for a guy.
The former colleague is now a luchador, a masked Mexican wrestler. And he’s been possessed by a demon. So Hellboy has to best him in the ring to accomplish his quest for the B.P.R.D — the Bureau for Paranormal Research and Defense.
But hell, let’s cut to the chase. “Hellboy” goes wrong BEFORE this introductory brawl. A Pythonesque prologue, narrated by Ian McShane, takes us back to the hellish past when The Blood Queen (Milla Jovovich) was beheaded by King Arthur, dismembered, her parts scattered all over England’s green and pleasant woodlands.
Hearing Jovovich, a corpseless head, scream about revenge as she’s carried off may be the funniest thing since “Tis but a FLESH wound. Have at YOU!” To complete the Monty Python reference.
The movie that follows is all foreboding, warnings (“The End is coming,” but not soon enough.), duels with giants, treacherous allies and demons out to fetch all of the Blood Queen’s body parts so she can bring about The End Times.
McShane plays the grizzled professor/agent who found Hellboy as a Hellbabe, thanks to the Nazis and Rasputin. That makes him “Dad.”
Sasha Lane (“American Honey”) is a rescuer/sidekick, Daniel Dae Kim is a fellow agent and everybody else we’ll leave out of this because, heck, they’re going to want to work again.
The fights are kind of fun, even if Harbour can’t quite pull off the world-weary profanity that showed us how perfect Perlman was in the part. Seriously, if you watched “Stranger Things” and thought, “The SHERIFF is the charismatic heavyweight we can turn into a hero,” you have more foresight than me.
Jovovich loves playing villains, but “Revenge is the only sustenance I need” doesn’t do it for evil empress of the underworld banter.
Thomas Haden Church is the only performer who gets away unscathed, a dorky, long-in-the-tooth early superhero Nazi fighter named The Lobster. He eats up corny dialogue and honks it out with style.
British director Neil Marshall usually has better luck with single-word titles — “Descent,” “Centurion.” Here, he was so dismayed at what he’d put his name on that he planted this story about what the set was like, what tools the producers were, how Harbour treated him and what a mess was made that wasn’t really his fault, says he.
Somehow, mere words describing screenwriter Andrew Cosby’s incompetence won’t do the trick. So I’ll just post a link to this.
I liked the original “Hellboy.” Not a lot, but with Perlman, David Hyde Pierce and director Guillermo del Toro, it had its moments.
The new “Hellboy” feels like the end of the road for the character and the franchise, no matter how many post-credits teases they give us, no matter how old and not-long-for-this-business the idiot producers who still own the rights, and who put this mess out there might be.

MPAA Rating:R for strong bloody violence and gore throughout, and language
Cast: David Harbour, Ian McShane, Milla Jovovich, Sophie Okonedo, Thomas Haden Church, Sahsa Lane, Daniel Dae Kim
Credits:Directed by Neil Marshall, script by Andrew Cosby, based on the comic book. A Lionsgate release.
Running time: 2:00

“After” is based on an Anna Todd novel about a freshman year college romance.
But actually, Shakespeare beat her to it, leaving out the college part. He titled his version “Much Ado About Nothing.” But if his romantic comedy had been as limp as this, he’d have titled it “Much Ado About Absolutely Nothing.”
It’s a serious-minded first-real-love/first sexual experience coming-of-age drama which takes forever to make anything happen, and when it does (the “big reveal”), it’s so lame as to make you weigh your life up to this point, and what inspired you to waste 105 minutes on this drivel.
Josephine Langford of “Wolf Creek” and “Wish Upon” is Tessa, whom we meet as she’s delivered to Atlanta’s Rossmore University by her helicopter divorced mom (Selma Blair) and still-in-high-school beau Noah (Dylan Arnold).
Tessa has been sheltered, dating her mom-approved “nice guy” boyfriend since forever and she and mom and that boyfriend are all blown away when she moves into a dorm room with worldwise, sexually omnivorous upperclasswoman Steph (Khadijha Red Thunder), all fishnet stockings, piercings, tattoos and promises of getting Tessa into all the clubs where you “don’t even need a fake” (ID).
Mom freaks, but Tessa is confident she can resist the temptations of Satan herself. And to the movie’s eternal damnation, little if anything is done with this struggle.
Except that Steph is how Tessa eventually meets a faster crowd — mean-girl flirt Molly (Inanna Sarkis) and brooding Brit-hunk Hardin (Hero Fiennes Tiffin).
He is Every Romantic Antihero of British Fiction rolled into one — the rude Mr. D’Arcy of “Pride and Prejudice,” sulking, sad Rochester from “Jane Eyre,” man-with-a-secret Heathcliff from “Wuthering Heights.”
He can quote, at length, from those books. And he is catnip to smart but naive Tessa.
Let’s invite her to a frat party.
“I’m trying to picture this one at a party,” he sneers. “Just not seeing it.”
Naturally, they are fated to be together. A skinny dip here, a midnight sneak-into-the-library to read her romantic literature there, signs of trouble — warnings from interested third parties.
“He’s complicated…Be careful.”
It’s right there, in English Literature 101. Hardin lays it all out for us.
“Elizabeth Bennett needs to chill…Love is just a transcation…”
Not plain enough.
“I don’t date.”

Langford, to her credit, makes this work. She sells the heat, the attraction, the confusion. Up to a point, anyway.
Tiffin should stop using his uncles’ (Ralph and Joseph) “Fiennes” as his middle name. He’s letting down the side. As Tessa wanders through campus, through bars, in parties, more attractive, more lively guys pass her one after the other.
Tiffin isn’t up to making this guy as interesting (ahem) as he’s written (cough cough).
A tantrum here, a piece of his tortured past there, a ’65 Chevelle SS, Peter Gallagher as his university chancellor dad — nothing enlivens the character and better explains the attraction.
Slack direction (this takes FOREVER to get going) doesn’t help anybody him or anybody else. Only the women acquit themselves with honor, and with a little luck each of them — especially Langford — will find something more worthy of their talents next time around.

MPAA Rating: PG-13 for sexual content and some college partying
Cast: Josephhine Langford, Hero Fiennes Tiffin, Selma Blair, Inanna Sarkis Peter Gallagher, Jennifer Beals
Credits:Directed by Jenny Gage, script by Susan McMartin, based on an Anna Todd novel. An Aviron release.
Running time: 1:46
I think I posted this trailer a while back, or an earlier trailer for “After.”
It’s been tagged onto releases like “Five Feet Apart.”
Teen love and lust interrupted by…”his dark secret.”
Aviron didn’t preview this one, so I will catch it first show tonight. There’s another “Fiennes” in it — not Ralph, not Joseph, but Hero Fiennes Tiffin is Ralph and Joseph’s nephew. The brooding comes naturally, I guess.
Josephine Langford plays the smitten young Tessa, and Selma Blair plays her mom. Anna Todd wrote the novel “After” is based on.